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4 x CD |
Kérjen
árajánlatot! |
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| 1. CD tartalma: |
| 1. | New Dupree Blues
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| 2. | I Just Want Your Stingaree
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| 3. | Black Rider
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| 4. | I'll Keep Sittin' on It (If I Can't Sell It)
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| 5. | Trouble in Mind
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| 6. | Just Because
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| 7. | Deep Elem Blues
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| 8. | Cindy
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| 9. | The Filipino Hombre
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| 10. | Blues
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| 11. | Blue Skies
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| 12. | Begin the Beguine
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| 13. | Dream Dust
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| 14. | Dark Eyes
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| 15. | It's Been a Long, Long, Time
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| 16. | Whose Dream Are You?
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| 17. | Hawaiian Paradise
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| 18. | My Isle of Golden Dreams
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| 19. | Baby, What You Do For Me
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| 20. | Everybody Knew But Me
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| 21. | Song of the Islands
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| 22. | Sweet Leilani
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| 23. | King's Serenade
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| 24. | To You, Sweetheart, Aloha
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| 25. | Aloha Oe
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| 2. CD tartalma: |
| 1. | Pretending
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| 2. | Gotta Get Me Somebody to Love
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| 3. | A One Sided Affair
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| 4. | What Would It Take?
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| 5. | Rumors Are Flying
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| 6. | Steel Guitar Rag
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| 7. | Guitar Boogie
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| 8. | What Am I Gonna Do About You?
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| 9. | Drifting and Dreaming (Sweet Paradise)
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| 10. | What Are You Doing New Year's Eve?
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| 11. | My Future Just Passed
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| 12. | Lover
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| 13. | Brazil
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| 14. | Hip-Billy Boogie
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| 15. | What Is This Thing Called Love
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| 16. | Caravan
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| 17. | Dry My Tears
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| 18. | Nola
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| 19. | Cryin'
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| 20. | Goofus
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| 21. | Tennessee Waltz
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| 22. | Little Rock Getaway
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| 23. | Chicken Reel
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| 24. | How High the Moon
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| 25. | Mockin' Bird Hill
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| 26. | Walkin' and Whistlin' Blues
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| 27. | I Wish I'd Never Seen Sunshine
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| 28. | Josephine
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| 3. CD tartalma: |
| 1. | In the Good Old Summertime
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| 2. | Three Little Words
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| 3. | Jazz Me Blues
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| 4. | Just One More Chance
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| 5. | The World Is Waiting For the Sunrise
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| 6. | Whispering
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| 7. | Jingle Bells
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| 8. | Tiger Rag
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| 9. | I'm Confessin' (That I Love You)
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| 10. | The Carioca
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| 11. | Smoke Rings
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| 12. | Take Me in Your Arms and Hold Me
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| 13. | Meet Mister Callaghan
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| 14. | Bye Bye Blues
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| 15. | Deep in the Blues
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| 16. | St. Louis Blues
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| 17. | Mammy's Boogie
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| 18. | My Baby's Comin' Home
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| 19. | Lady of Spain
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| 20. | I'm Sitting on Top of the World
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| 21. | Sleep
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| 22. | Vaya con Dios
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| 23. | Johnny Is the Boy For Me
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| 24. | Don'cha Hear Them Bells
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| 25. | The Kangaroo
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| 26. | South
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| 27. | I Really Don't Want to Know
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| 28. | I'm a Fool to Care
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| 29. | Auctioneer (I'll Buy That Dream)
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| 4. CD tartalma: |
| 1. | Whither Thou Goest
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| 2. | Mandolino
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| 3. | Mr. Sandman
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| 4. | Song in Blue
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| 5. | Someday Sweetheart
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| 6. | No Letter Today
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| 7. | On the Sunny Side of the Street
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| 8. | Twelfth Street Rag
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| 9. | Just One of Those Things
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| 10. | Lies
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| 11. | Nuevo Laredo
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| 12. | The Best Things in Life Are Free
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| 13. | Moritat
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| 14. | I'm Movin' On
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| 15. | Some of These Days
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| 16. | Farewell (For Just a While)
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| 17. | Hummingbird
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| 18. | Amukiriki (The Lord Willing)
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| 19. | Magic Melody
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| 20. | Alabamy Bound
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| 21. | Say the Words I Love to Hear
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| 22. | Cimarron (Roll On)
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| 23. | San Antonio Rose
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| 24. | Send Me Some Money
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| 25. | Cinco Robles (Five Oaks)
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| 26. | Medley
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Jazz / Vocal, Swing, Vocal Pop, Traditional Pop
2007 four CD Proper box featuring 108 tracks recorded by the famed duo. Les Paul pioneered electric guitar design and multi-track recording and along the way invented the synthesiser. He was also a very fine guitarist himself and with vocalist Mary Ford had considerable chart success with songs of varying styles, all included here. Les Paul's influence as a guitarist is acknowledged by musicians ranging from B.B. King, Jerry Garcia and Eric Clapton to James Burton, Frank Zappa, Keith Richards and Jeff Beck. Also includes a bonus 44 page book.
Les Paul
Active Decades: '30s, '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Jun 09, 1915 in Waukesha, WI
Died: Aug 13, 2009 in White Plains, NY
Genre: Vocal, Jazz
Les Paul has had such a staggeringly huge influence over the way American popular music sounds today that many tend to overlook his significant impact upon the jazz world. Before his attention was diverted toward recording multi-layered hits for the pop market, he made his name as a brilliant jazz guitarist whose exposure on coast-to-coast radio programs guaranteed a wide audience of susceptible young musicians. Heavily influenced by Django Reinhardt at first, Paul eventually developed an astonishingly fluid, hard-swinging style of his own, one that featured extremely rapid runs, fluttered and repeated single notes, and chunking rhythm support, mixing in country & western licks and humorous crowd-pleasing effects. No doubt his brassy style gave critics a bad time, but the gregarious, garrulous Paul didn't much care; he was bent on showing his audiences a good time. Though he couldn't read music, Paul had a magnificent ear and innate sense of structure, conceiving complete arrangements entirely in his head before he set them down track by track on disc or tape. Even on his many pop hits for Capitol in the late '40s and early '50s, one can always hear a jazz sensibility at work in the rapid lead solo lines and bluesy bent notes -- and no one could close a record as suavely as Les. And of course, his early use of the electric guitar and pioneering experiments with multi-track recording, guitar design, and electronic effects devices have filtered down to countless jazz musicians. Among the jazzers who acknowledge his influence are George Benson, Al DiMeola, Stanley Jordan (whose neck-tapping sound is very reminiscent of Paul's records), Pat Martino, and Bucky Pizzarelli.
Paul's interest in music began when he took up the harmonica at age eight, inspired by a Waukesha ditch digger. Paul's only formal training consisted of a few unsuccessful piano lessons as a child -- and although he later took up the piano again professionally, exposure to a few Art Tatum records put an end to that. After a fling with the banjo, Paul took up the guitar under the influences of Nick Lucas, Eddie Lang and regional players like Pie Plant Pete and Sunny Joe Wolverton, who gave Les the stage name Rhubarb Red. At 17, Les played with Rube Tronson's Cowboys and then dropped out of high school to join Wolverton's radio band in St. Louis on KMOX. By 1934, he was in Chicago, and before long, he took on a dual radio persona, doing a hillbilly act as Rhubarb Red and playing jazz as Les Paul, often with an imitation Django Reinhardt quartet. His first records in 1936 were issued on the Montgomery Ward label as Rhubarb Red and on Decca backing blues shouter Georgia White on acoustic guitar. Dissatisfied with the electric guitars circulating in the mid-'30s, Paul, assisted by tech-minded friends, began experimenting with designs of his own.
By 1937, Paul had formed a trio, and the following year, he moved to New York and landed a featured spot with Fred Waring's Pennsylvanians, which gave him nationwide exposure through their broadcasts. That job ended in 1941 shortly after he was nearly electrocuted in an accident during a jam session in his Queens basement. After a long recovery period and more radio jobs, Paul moved to Hollywood in 1943, where he formed a new trio that made several V-Discs and transcriptions for MacGregor (some available on Laserlight). As a last-minute substitute for Oscar Moore, Paul played in the inaugural Jazz at the Philharmonic concert in Los Angeles on July 2, 1944; his witty chase sequence with Nat Cole on "Blues" and fleet work elsewhere (now on Verve's Jazz at the Philharmonic: The First Concert) are the most indelible reminders of his prowess as a jazzman. Later that year, Paul hooked up with Bing Crosby, who featured the Trio on his radio show, sponsored Les' recording experiments, and recorded six sides with him, including a 1945 number one hit, "It's Been a Long, Long Time." On his own, Paul also made several records with his Trio for Decca from 1944 to 1947, including jazz, country, and Hawaiian sides, and backed singers like Dick Haymes, Helen Forrest, and the Andrews Sisters.
Meanwhile, in 1947, after experimenting in his garage studio and discarding some 500 test discs, Paul came up with a kooky version of "Lover" for eight electric guitars, all played by himself with dizzying multi-speed effects. He talked Capitol Records into releasing this futuristic disc, which became a hit the following year. Alas, a bad automobile accident in Oklahoma in January 1948 put Les out of action again for a year-and-a-half; as an alternative to amputation, his right arm had to be set at a permanent right angle suitable for guitar playing. After his recovery, he teamed up with his soon-to-be second wife, a young country singer/guitarist named Colleen Summers whom he renamed Mary Ford, and reeled off a long string of spectacular multi-layered pop discs for Capitol, making smash hits out of jazz standards like "How High the Moon" and "Tiger Rag." The hits ran out suddenly in 1955, and not even a Mitch Miller-promoted stint at Columbia from 1958 to 1963 could get the streak going again. After a bitter divorce from Ford in 1964, a gig in Tokyo the following year, and an LP of mostly remakes for London in 1967, Paul went into semi-retirement from music.
Aside from a pair of wonderfully relaxed country/jazz albums with Chet Atkins for RCA in 1976 and 1978, and a blazing duet with DiMeola on "Spanish Eyes" from the latter's 1980 Splendido Hotel CD, Paul has been long absent from the record scene (some rumored sessions for Epic in the '90s have not materialized). However, a 1991 four-CD retrospective, The Legend & the Legacy, contained an entire disc of 34 unreleased tracks, including a breathtaking electrified tribute to the Benny Goodman Sextet, "Cookin'." More significantly, Paul began a regular series of Monday night appearances at New York's Fat Tuesday's club in 1984 (from 1996, Les held court at the Iridium club across from Lincoln Center), attended by visiting celebrities and fans for whom he became an icon in the '80s. Arthritis has slowed Les' playing down in recent years, and his repertoire is largely unchanged from the '30s and '40s. But at any given gig, one can still learn a lot from the Wizard of Waukesha.
--- Richard S. Ginell, All Music Guide |
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